Asta Ödman was born in Gothenburg and was a sculptor and artist.
Ödman studied under Sten Teodorsson and during her studies she became friends with Inger Manne, with whom she painted for many years.
In the early 1960s, Ödman studied under Fritz Gahn and was a member of a group of artists who sculpted, drew and painted.
Ödman had a number of exhibitions of her own. She was also posthumously represented with several works in Norrköping Art Museum's collection exhibition "Women Artists" from 2013.
In Norrköping, there are also public works created by Asta Ödman, for example in the town hall and the De Geerhallen concert hall.
Image description: Asta Ödman with sculptures. Photo: Mikael Strand. The photo was first published in Norrköpings TidningarThe image is cropped]. Click here for an uncropped image
Louise Stiernstedt was born in Uppsala and was a cartoonist and graphic artist.
After studying at the Technical School in 1895-1896 and at the Academy of Fine Arts in Stockholm in 1897-1893, Stiernstedt continued his education at various schools in Italy and Munich.
Stiernstedt was a skilled woodcut and linocut artist and her art consists of portraits, landscapes and still lifes. She is represented at the National Museum.
Image description: Louise Stiernstedt, Landscape School at the Academy of Fine Arts, Stockholm, 1898. Back row: Helene Herslow, Astrid Kjellberg, Esther Salmson, Louise Stiernstedt, Mathilde Wigert, John Österlund, Manne Hallengren, Seth Nilsson. Front row: Herman Österlund, Professor Per Daniel Holm, Hildur Hult Photo: Unknown photographer / UUBThe image is cropped]. Click here for an uncropped image
Manne (Gustaf Emanuel) Ihran initially took over the business of his father, master tailor Erik Ihran, in Uppsala, but through contact with the artists Olof Thunman and Gusten Widerbäck became increasingly interested in artistic activities.
From left: Gusten Widerbäck, Olof Thunman and Manne Ihran, ca 1910-ca 1920. Photographer: Unknown / UUB.
Drawing of Uppsala Castle from 1914 made by Manne Ihran. Photo: UUB.
His subject matter is entirely tied to Uppsala and its surroundings, such as buildings, backyards, trees and the harbor.
Manne Ihran painted in the true spirit of national romanticism, and the atmospheric pictures of, for example, Stora Torget with the Svedberg House from 1905 are some of his most famous works.
Rune Hammarling took correspondence courses in drawing and painting and was apprenticed to conservator Alf Hedman in Gävle, where he worked for 17 years.
In 1981 he trained as a conservator in Copenhagen and two years later started his own business.
Hammarling has restored medieval paintings in a number of churches in Uppsala and also the 19th century paintings in Uppsala Cathedral, the University Hall, Carolina Rediviva, Geijersgården, as well as a number of student nations and the castles in Gävle and Västerås.
Image description: Rune Hammarling doing conservation work in Bälinge church, Uppland, 1989. Photo: Rune Hammarling / Upplandsmuseet. [The image is cropped] Click here for an uncropped image
In 1956, Sonja Lyttkens became the second woman in Sweden to receive a doctorate in mathematics for a thesis on harmonic analysis.
In 1963, she became the country's first university lecturer in mathematics, a position she held until 1984. Lyttkens was also committed to improving the conditions for women in academia.
In addition to her work, Lyttkens devoted herself to watercolor painting and had already had several exhibitions before her retirement. Her watercolors are represented at the National Arts Council.
As late as 1986, Lyttkens published a work: General Tauberian Theorems Connected with a Theorem of Korenblum. After retirement, Lyttkens devoted himself entirely to his watercolor painting.
Emma Schenson was probably the first female professional photographer in Uppsala and also one of the first women in Sweden to take photographs professionally.
She first trained as a watercolor painter, but from the 1860s she worked in parallel with both painting and photography. In the early days of photography, it was unusual for women to take photographs professionally, but after the 1864 Freedom of Trade Act, it became possible for women to enter the market and establish themselves as entrepreneurs and photographers.
Schenson was active in Uppsala from the 1860s onwards and had a permanent studio at Östra Ågatan 25 (between Nybron and Dombron). In 1888, the Fotografiska föreningen, which organized photographers, had three female members out of a total of 65. These women were Anna Hwass, Wilhelmina Skogh and Emma Schenson.
During Schenson's active period, the business card photograph and the larger cabinet photograph (format approx. 12×16.5 cm) became very popular in all social classes. It is very likely that there are pictures of older Uppsala families made by her.
The Domen quarter, Fyristorg and Uppsala Cathedral, Fjärdingen, Uppsala before 1885. Photographer: probably Emma Schensson, Uppsala / Upplandsmuseet.
"Svartbäcksgubbar" in Kvarnfallet at Akademikvarnen, Holmen district, Uppsala 1880s - 1890s. Photographer: Emma Schenson / Upplandsmuseet.
Between 1885 and 1893, Emma Schenson documented the major restoration of Uppsala Cathedral. Through her pictures we can follow the restoration from start to finish.
No negatives of Schenson's photographs are preserved today, but some photos have been preserved and are now in the Map and Image Collections at Uppsala University Library.
There is also an album showing the transformation of the cathedral during the time of the great restoration. The value of this photographic documentation was recognized early on, as can be seen in an inscription in Schenson's album, which concludes "unique of its kind and important for the future". The photographs that have been preserved are a remarkable cultural and historical treasure.
Yngve Svalander studied at Slöjdföreningens skola, Konstakademien and also abroad. He worked mainly as a draughtsman and graphic artist and was a cartoonist for Upsala Nya Tidning since the 1950s.
He created 'Kajan', which in 1962 began delivering a daily commentary on the newspaper's feature page. The inspiration came from the crows circling the cathedral spires. This crow became the newspaper's signature and was published for more than 24 years, six days a week.
Svalander has also illustrated several books, such as Tore Vretman's Menu (1956) and published the storybook Ballongresan.
Yngve Svalander is represented in H.M. King Gustav VI Adolf's collection, Uppsala University Library and Borås Museum.
Anna-Lisa Thomson studied at the Higher School of Industrial Arts in Stockholm between 1924-1928 and then in Italy, Austria, Prague and Dresden.
Between 1928 and 1933 she worked at the S:t Erik earthenware factory in Uppsala, designing tea sets in green glaze and ceramic objects with relief decoration. In the mid-1930s, Thomson came to Upsala Ekeby and worked there throughout her working life.
Thomson mainly created art objects in various ceramic materials with pure, often nature-inspired, decorative elements. Among his most famous works are the vase Paprika (1948), which was made in various shapes and sizes, and the urn Lancett (1949). Thomson is represented in the National Museum and in several other museums.
She also painted, and her works were often inspired by nature, with motifs from the west coast where she spent part of the year. Her book Eko av dagars ljusa klang (1953; Echo of the Bright Sound of Days ), with poems and illustrations by Anna-Lisa Thomson, was published posthumously.
Image description: Anna-Lisa Thomson with ceramics, Uppsala 1937, photo: Gunnar Sundgren / Upplandsmuseet. [The image is cropped] Click here for an uncropped image
Eva Edling studied at the Royal Academy of Fine Arts from 1900 to 1905 and also made study trips to Germany and Italy.
She was active in the association Svenska Konstnärinnor and participated in exhibitions with the association in Stockholm, Lund, Uppsala and Gothenburg.
Edling lived at Gropgränd 2, together with his mother and later alone.
Not far from Gropgränd, her brother Nils lived in the "Edlingska gården" bought by him at S:t Olofsgatan 2. A number of artists and writers have had their student residences there.
After studying at the Higher School of Industrial Arts and the Scuola di tessitura in Milan, Greta Gahn was the director and artistic director of Handarbetets Vänner between 1931 and 1951.
During the war years and the time after, it was mainly Gahn in collaboration with Alf Munthe who was responsible for the monumental textile art in churches and public buildings.
She was also a co-owner with Munthe of Lekattgården, a workshop for weaving and embroidery. Greta Gahn's artistic judgment and technical expertise were crucial to Munthe's textile works.
Image description: Greta Gahn, unknown year. Photo: Margit Karlson / Leksand local history archive. Leksands-kulturhusThe image is cropped] Click here for an uncropped image
